A transcript is a retrospective written record of dialogue, and like a script (a prospective record) may include other scene information such as props or actions. In the case of a transcript of a film or television episode, ideally it is a verbatim record. Because closed-captioning is usually written separately, its text may have errors and does not necessarily reflect the true Canonical transcript.

Transcripts for Lost episodes up to and including "Enter 77" are based on the transcriptions by Lost-TV member Spooky with aid of DVR, and at times, closed captions for clarification. She and Lost-TV have generously granted us permission to share/host these transcripts at Lostpedia. Later transcripts were created by the Lostpedia community, unless stated otherwise below.

Disclaimer: This transcript is intended for educational and promotional purposes only, and may not be reproduced commercially without permission from ABC. The description contained herein represents viewers' secondhand experience of ABC's Lost.

PandoraX is responsible for this transcription. The following is a special featurette seen on Disc 7 of the Lost: The Complete Second Season DVD box set. It is called the "Lost: On Location", and is a look backstage at the production of several episodes in Season 2.

Contents

Jim Van Houten: We carved this 14-foot tiger shark. [Shark model shown] The front part of it is used for an effects gag on Lost. The original was carved out of polyurethane foam. Then we made a three-part mold out of this, and then we split down the case line of each fin, so we could have one half of each fin on each mold. Then what we did was inside each one of these molds, we lay down three inches of clay. And then we cast a fiberglass core inside of that. And then we took the whole thing apart, cleaned it up, put it back together, filled up what the clay occupied with urethane foam. And that gave us our shark down here. [Finished shark shown]

Bryan Burk: One of the things on the show is the shark. And, as we've said before, we like to put in Easter eggs. We thought it would be a great idea to put in an Easter egg in that episode. We decided on the bottom of the shark that we would just brand the shark, and give it one of the DHARMA logos, again, thinking that nobody would see it, and that it would just be for us. However, we had actually mis-timed the shot. It was much brighter than it was originally supposed to have been. [Scene with shark passing shown]

Leonard Dick: I know many viewers became very excited when they caught the DHARMA logo on the tail of the shark. It was a pretty cool addition.

Stephen Williams: I think that there is a particular and specific relationship and value to shooting water-work actually at sea. Because the water behaves in a particularly idiosyncratic way when you're at sea, and the actors are forced to relate to that. In fact, the water becomes another character in your story. And the more kind of vibrant and alive and organically true it is, the better the show is.

Harold Perrineau: I got a phone call a couple of weeks before we started work, and the phone call was, "Hey, Harold. You should learn how to swim this year." [Laughs] So I was like, "Good, thanks. Thanks for the heads up." So I started taking swimming lessons, and then we got right back into the water, at night in the ocean, and just started shooting all that stuff on the raft.

Josh Holloway: We were like three days out there on the water, at night. And, primarily, if not completely submerged, always touching water, or water touching us. And it wasn't like we were on the dry raft, we were on pieces of the raft.

Stephen Williams: Everything is moving. Our lighting platform is moving, our camera boat is moving, the boat on which the actors is moving… and they are all moving out of sync with one another. None of them is moving in unison. And that problem, that challenge, becomes multiplied like ten-fold when you start shooting in the water, and particularly, at night. But, at the end of the day, what you end up getting is a degree of reality that you can't really get any other way.

Adam Horowitz: [Mistakenly credited as Edward Kitsis, who he is sitting next to on DVD] One of the approaches we took in the writer's room was finding an element of Hurley's character to tell the story from, and we settled on was his fear of change, which is something that really motivates that character. Which, worked, I think, nicely with the flashback showing how the lottery coming was a massive change in his life, and how he dealt with the fear on both sides of that; and I that was sort of the through-line we tried to stick with. [Scene of Hurley getting confronted with the press when he and Johnny pull up into the gas station lot]

Jorge Garcia: It was like, cool, because we would be working with DJ Qualls again. We already had a certain kind of chemistry we built, just from knowing each other, from before, so it made playing buddies really simple, because we'd done it already. And that was really the highlight for me, doing that episode.

Daniel Dae Kim: I really enjoyed those scenes in the tiger trap, because I thought it was a great chance for all of us to get to know each other personally. Y'know, when you're in a, what, eight foot hole? [Laughs] For eight hours a day? You get to know each other… and I don't think it's a coincidence that Josh and Harold and I have gotten to know each other and gotten to be really good friends. [Scene in pit of the three of them fighting shown] It was also nice, from an acting standpoint, to keep working with the same people, and to develop a kind of…vocabulary… working with each other.

Josh Holloway: And then they throw me into a tiger trap. That was how they introduced us to Michelle Rodriguez… and Adewale. So, that was fun too. Introduction of new people.

Daniel Dae Kim: [Behind-the-scenes shown of Josh grimacing while someone treats his ear; other actors are sitting around talking] The day of Josh's first ear infection since he was eight years old is also the first day of a new series regular: Cynthia Watros. [Points at Cynthia sitting nearby; other cast cheer, Cynthia waves] She looks fresh and clean now, but we'll see how she looks at the end of the season. [Laughs]

Josh Holloway: [To camera] Them being that caliber of actors, I knew that there would be strong roles. So there was that anticipation of how I would mix with them, as a character, I was just wondering how… ok, we got a strong woman coming in; now I know Sawyer's going to have to bash heads with her. [Scene where Ana Lucia is shown punching Sawyer shown]

Michelle Rodriguez: It was great because we were all suffering. It was kind of like the brotherhood that's created in army environments. [Laughs]

Michelle Rodriguez: You train your soldiers to bond, and that's how you do it. You put them in intense situations where they're tired and they're hungry, so they depend and rely on each other for comfort. And it built a certain kind of…tightness. A certain bond between us all.

Naveen Andrews: One of the great things about the show is that it is a collaborative process. For example, it was my idea to have the relationship with Shannon. I thought, "What would really shock Middle-America? What if Sayid was to have a relationship with a woman that looked like Miss America?" The most unlikely pairing… to come completely from left field.

Maggie Grace: Yeah, he called me Miss America. It's a nice nickname. Even in text-messages. "Miss America! Where are you?" [Laughs]

Elizabeth Sarnoff: Linking Shannon with him, I think, was very helpful in making her less flighty… more of a person to be reckoned with. I think it was a great idea.

Carlton Cuse: The relationships you expect on the show are not necessarily the ones that we necessarily are going to give you, but we want to try to find ways in which characters that you don't expect to kind of connect to one another to connect in ways that are kind of surprising. [Scene of Sawyer and Ana Lucia lost]

Michelle Rodriguez: Sawyer is a funny character. It's kind of like that kid that used to pick on everybody in high school or grammar school? That's what his character reminds me of. I feel like I'm in grammar school when I'm around him.

Josh Holloway: You know, every woman on the show must take a shot at Sawyer. Beat him down, that's the way it is. [Laughs] I'm just waiting for the Others. I'm going to call out, "Who's the woman, bring her out? Here it is, take it." [Points to cheek] [Scene with Sawyer collapsing shown] I hoped that I would be healed… if I had to sew it up my damned self. [Laughs] No, I had no idea. We never know any more than… from one script to the next.

[Behind the scenes shown of crew assembling makeshift stretcher for Sawyer, he says "This is practice, you are all my love slaves." Michael Vendrell then coordinates the stunt in the scene of the stretcher carry]

Cynthia Watros: Poor Josh. I mean, I felt for him. He had these two women… I mean, I'm strong. But when you're dealing with water, and rocks, and this cot that could fall apart at any second, he kind of just closed his eyes and trusted us. [Scene shown of stretcher carry; out of camera range, extra crew are helping support Josh's weight, while actors pass stretcher up hill]

[Final scene with Shannon being shot shown from Sayid's perspective]

Damon Lindelof: We knew that Shannon was going to die before we started Season 2. Shannon's death served a number of story purposes, the most important being, that we wanted the tail section people, and our core group of castaways to be sort of forced to merge under incredibly uncomfortable circumstances.

Elizabeth Sarnoff: I felt like we serviced two characters. I mean, obviously, Ana didn't mean to kill her, it was an accident, she was simply trying to protect her people. But it gave us so much story, 'cause the Tailies were joining a lot of people.

Maggie Grace: I think the main thing with that scene is that it was so inevitably dramatic, that I think the danger is almost overplaying that, and making it melodramatic… and trying to play against it a little bit.

Michelle Rodriguez: I don't want to be the one to shoot her. That sucked. [Laughs] Why me? Why not give that task to someone who loves her like Naveen! [Laughs]

Damon Lindelof: It's sort of understood on Lost that that's what you sign up for. There's going to be constant character turnover, because the stakes on the Island are life-or-death.

Naveen Andrews: It's tough because, when you build relationships, it's been a long piece of work, like this. It's been a long time, we've been here almost two years now. It seems sort of brutal, unbelievably harsh when they bump somebody off, but you've just got to deal with it, as best you can.

Michelle Rodriguez: So, what's her past? What's her deal? They didn't tell me anything. They just basically said that I was a cop, and that's all I was told. [More scenes shown of Ana Lucia in uniform]

Leonard Dick: Michelle brought real strength, and a dynamic element to the role. We see her in the first few episodes being very tough, very hard-edged, and it's understandable given what she's endured on the Island. But this was a chance to see the softer side of her.

Michelle Rodriguez: There's this whole domestic disturbance sequence in a flashback that I had, and it's basically my character coming in, and getting this intense internal moment, where she's projecting all this hatred and anger that she has. [Scene shown of Ana Lucia and Big Mike responding to the domestic disturbance]

Leonard Dick: Ana Lucia is someone who does not want to be a victim. She was a victim once, and she swore to herself that she'd never be a victim again.

Michelle Rodriguez: His lack of respect for someone who's holding a baby just triggers her off. Makes her go off on this tangent, and she was just like… [Roars, makes gun motion] with the gun, you know. The only other hint that they gave me was that my mother was in the police force as well. [Behind the scenes shown of meeting with Rachel Ticotin, who plays her mom] I love when an actor or actress just looks me in the eye, 'cause it gives me something to play with. 'Cause I'm just there with you, you know? So it felt great working with her. She was just amazing. [Scene shown of Teresa Cortez ordering Ana Lucia to do desk job]

Leonard Dick: When you see somebody with their parent, regardless of what their relationship is, it humanizes her. To see her with her mother, I think opens up a side to her that I think we have not seen before. [More scenes and behind-the-scenes shown]

Michelle Rodriguez: That episode was fun. [Michelle shown 'directing traffic' on the road]

Crew Member: This is like the busiest show that we've ever had on the show now. Deep in the jungles of Nigeria.

[Scene shown of Tough Moroccan confronting Eko, asking if he has no soul, and getting his throat slit]

Damon Lindelof: Exactly what Eko does… Eko starts as a Nigerian crime lord, and essentially evolves all the way to being that guy. To being a priest and so, a name… he believes in something he can't prove; he believes in something that has no rational explanation.

Adewale Akinnuoye-Agbaje: What you see on the screen now is something quite different from what was originally talked about. As I understood it, from what we discussed with the creators, he was actually quite a passive character. [Scene of Eko shown telling the boy to "Go, and tell your friends, I let you live… that Mr. Eko let you live."] The name that we initially came up with was 'Emeka', and I changed the name to 'Eko', because it is Yoruba, which is the tribe that I come from, and I added the 'Mr.'

Bill Matthews: [Various behind-the-scenes location shots shown] We're trying to finish up the execution of our idea from Nigeria, that we're actually filming as a flashback. We've created a very dusty-dirty brown kind of Nigerian-earth look, with lots of venders, and the village square where the kids are playing soccer. [Director shown directing children's match, then scene shown of Eko taking the gun from his brother and shooting the man]

Adewale Akinnuoye-Agbaje: I've had some difficulty trying to establish the character with the writers. Y'know, because we were trying to marry what they wanted to do with the show and feelings that I wanted to see come out in the character.

Carlton Cuse: Adewale's faith is sort of much more traditional, kind of a Catholic-Christian faith, and he's struggling with that himself.

Adewale Akinnuoye-Agbaje: You have the kind of man of science, that Jack represents, and then you have the man of philosophy and faith that Locke represents.

Carlton Cuse: Locke's faith is rooted in this paganistic, ritualistic appreciation in whatever the powers are. Adewale came on and offered sort of another pole of faith, but in this case, sort of pure religious faith. [Contrast scene from "?" with Locke and Eko]

Adewale Akinnuoye-Agbaje: I think once they saw a 6'2" guy with a stick in his hand, they knew they were up against dimensions that they needed to explore.

Bill Matthews: [In front of building façade, under construction] To my back is the rear end of the church that we created, to match the interior, which is at another location over in Haleiwa. So, we used the interior there, and then we cut to the exterior here. [Scene shown of Eko looking at Virgin Mary statues, then seeing Yemi] Most of our research comes from the internet. We have incredible internet research now, so everything's very authentic. We have vehicles, all the marketplace people were coordinated with the work group, from their research. And even the church shape, we found a lot of parts of it in research.

Adewale Akinnuoye-Agbaje: "The 23rd Psalm", perhaps, was a bonding point for me as an actor with the writers, so it really was a formulation of a trust between us. Because when I saw that episode, I realized that I actually knew where I was coming from…[Eko carving stick shown] and that skillfully married some of the elements that I wanted to convey, with some of the elements that they wanted to convey with the show as a whole.

Damon Lindelof: Jin and Sun is a great arc, because he's the abusive husband, and he's the docile wife. But by the end of the second season, they've totally flip-flopped.

Christina Kim: The whole truth was a challenge to break, but it was really rewarding. I loved Sun and Jin's characters. So it was great to explore their background stories.

Elizabeth Sarnoff: That story is very conflicting. In some ways, it's all about the things you run away from, the things you run away to.

Daniel Dae Kim: That scene was one of the most challenging acting episodes that I've ever had. [Scene in the fertility doctor's office shown of the Jin and Sun argument] The swings of emotion that both Jin and Sun were required to go through in such a quick moment-to-moment way was something that I've never done before. [Bedroom scene shown] We did a scene in the bedroom where it starts off as a seduction scene, and then it goes to an argument, which blows up into a fight, which turns into a scene that's about begging for forgiveness. It's so many colors that are all within the same scene. That was the first time I think I've ever done that on this show.

Damon Lindelof: [Sun shown with Jae Lee] In terms of the fidelity in their marriage, it's Sun that's sort of suspect instead of Jin. Every sacrifice that he's ever made in his life was for Sun… but she can't really say the same.

Elizabeth Sarnoff: I had sort of hankering to do the Sun pregnancy story for a while, and that it would make sense that if she couldn't have kids off the Island, she would become pregnant on the Island.

Yunjin Kim: Episode 2-14, she gets kidnapped by Charlie, and then 2-16, you find out that Sun is pregnant—and by whom, we don't know.

Daniel Dae Kim: As of right now, the jury's out as to whose baby it really is.

Damon Lindelof: I think she's sort of saying… by the end of the season, she's a little more morally ambiguous than he is, which is sort of cool because, looking at the "Pilot" moment when he slaps her hand, or yells at her to button up her collar, you never would think that this was their life.

Steve LaPorte: [Photo shown of Ben's bruised face shown] I'm going to make up Michael Emerson today. He plays a character named Henry Gale, and he's been beat rather badly by Sayid. [Holds up transparent sheet of plastic with markings and red paint makeup on it] When I hold this up to his face, this lines up with his eyebrow and this is his hairline [Points] …and this is his sideburn area… that's the corner of his nose, this is the side of his mouth.

Michael Emerson: After I look at my horrible face in the mirror when he's done, then I forget the rest of the day that I look like that, so I'm going around chatting with people, having lunch, acting like I look like a human being. It's only when I catch myself looking in the mirror that I realize that I look like something out of a horror film.

Elizabeth Sarnoff: If you have an actor that you love, and you put them in there, you get a hundred times more story and more charisma. And he's just a great actor and he's brought so much to that character. We're just all delighted with him. [Laporte finished make-up job on Ben's battered face]

Steve LaPorte: This is the big secret, in this make-up. No one knows about it, but we're letting you in on a few make-up secrets. [To Michael Emerson, handing him a small piece of foam] Your cut, sir.

Michael Emerson: This is like the lowest-tech part of the whole… [Laughs, puts foam in mouth]

Steve LaPorte: I was going to make him a dental prosthetic, but this is the one… [Emerson shows how the foam makes his face bulge out]

Christina Kim: It was great to have Ana Lucia, who's such a strong character, go in and actually interrogate Henry, because I think all the viewers, and all of us wanted to know… what the hell was up with these people? What do they want? Why is this guy here? [Scene with Ana Lucia and Ben in gun vault shown]

Jack Bender: Michael Emerson is an extraordinary actor. You can tell, having worked with so many different actors, that Michael is highly trained. He's like a Stradivarius. [Scene shown of Ben asking Jack: "Men reject their prophets and slay them. But they love their martyrs and honor those whom they have slain. So what's the difference between a martyr and a prophet?"] Because they've written these brilliant speeches for Henry Gale, there are times I've found from working with him, that he has the facility, as an actor, of language, you need to activate him a little bit, because it can get a little speechy. That's a particular facility that he has, which is a joy as a director. [Scene shown of Ben toying with Locke and Jack in the Swan]

Jack Bender: The Hurley and Sawyer fight scene was really cool. We knew we wanted the fight to be funny. So I said, what happens if Hurley lifts him up and takes him into the tent, knocking over the tent, and be part of the rolling around. [Several scene takes shown of Hurley running into Sawyer]

Jorge Garcia: [Sitting in between takes] Can we do one where… they sort of start slowing down and do the more passionate love embrace thing?

Jack Bender: So, we were rolling around under the tarp… Josh had the brilliant idea, "What if I pop out of the tent and get sucked back in?" Which is hilarious. [Final take shown, everyone applauds]

[Scene of Dave falling backwards shown, and then behind-the-scenes]

Michael Vendrell: Well, we're about to do a high-fall here… with Mr. Spiro Razatos. We're going to blue-screen this, and then we're going to map on a cliff over on Makapu'u… and it's going to look like he's falling hundreds of feet. [Stunt shown from high up on platform in front of blue screen, then a suspended stuntman shown, with fans on him against blue screen, for close-up FX]

Jorge Garcia: We've had some really good guest stars on the show. I thought Evan was awesome. And Bruce… Bruce was really cool to work with, too. I liked working with both of them. [Dr. Brooks shown taking a photo of Hurley and Dave] The biggest unanswered question we had from Season 1… at least from my standpoint… was what Hurley's history was with the mental institution. It was cool to finally see that, and see that finally get touched on. And it also kind of brought the whole romance thing to a head, too, between him and Libby.

Carlton Cuse: Libby was a character you know, who, was very much on the periphery for a good part of the season, and then all of the sudden, she latched onto this relationship with Hurley, and that became a place where she surfaced.

Damon Lindelof: … A way to, make her character pop was to tie her character into somebody we were really already invested in. How do you essentially tell a very sweet love story about two people who know each other from a mental institution? And that was sort of the challenge before us.

Jack Bender: Working on the edge of the cliff was very challenging. I wanted to take us there. We worked with a limited crew, it was very dangerous. It was the drop you see… it was a deadly drop.

Cynthia Watros: It was great. Number one, we got to be on this beautiful cliff all day, and number two, I got to have some pretty meaty scenes with Jorge, which I love… and I love working with him.

Jorge Garcia: Well, I guess my favorite scene, I guess, it's got to be kissing on the clifftop. We're not usually the guys that you like go to for mountaintop kisses, usually, so that kind of made it special.

[Scene of cast and crew whalewatching during break, humpback whales surfacing in the distance]

Jack Bender: Whenever we're shooting Lost, we can't get too hysterical about what we're doing in terms of pressure. So when we see whales breaching, everybody stops, and we take five minutes, and we watch the whales breach. That's one of the joys of our show.

[Jorge is messing around behind-the-scenes, pretending he is hanging from the cliff edge, and Cynthia Watros runs by, showing that he is not actually on the ledge]

Edward Kitsis: The thing that makes him want to jump at the end, is when Dave says to him, "This is all in your head", and Hurley still is not quite sure, but when he says "Oh, and Libby." [Scene of Dave confronting Hurley on cliff shown]

Adam Horowitz: The intent is to get the audience to really fall in love with them as a couple. The heartbreak is that much more tragic.

Damon Lindelof: That episode is a real setup for the end-run, which is, that Libby dies, and this activates Hurley on an entirely different level.

Leonard Dick: "S.O.S." was a nice departure for the series. Rose and Bernard quickly became much-beloved characters, and the audience was hungry to know their story. And so, S.O.S. gave us a chance to explore these two people. [Bernard shown talking to helpers]

Sam Anderson: You know, I'm trying so hard through this episode to get Rose home, and to get her off this island, and I'm moving these rocks, and I'm trying to make a big rock sign, and I just alienate absolutely everybody on the Island, because I'm such a rotten boss. [Bernard shown trying to convince Jin to stay and help] And when we were actually shooting it, we had one little piece left, where the camera was left on the crane. And all I had to do was move rocks back-and-forth. And some of them were fake rocks, which were very easy to lift, and some of them were not. So, I start moving rocks, and I'm thinking it's gonna take 15 seconds, and I'm moving rocks… and I'm moving rocks, and moving rocks… and moving more rocks. And he's not calling "cut". And I'm getting a little annoyed with Eric, with the director, but I'm not going to cut until somebody yells "cut". So finally, after an endless amount of time, when I've gone through all the fake rocks, now I'm lifting the real rocks, now I'm sweating like a pig, I'm exhausted, I'm really crabby, then I hear this "Cut!" and I look up, and the entire crew have moved across the road. [Daniel Dae and other cast and crew shown laughing] Everybody was gone. I was so intent on doing my task that I ignored everything else in the world around me, and they had to yell at me to let me know that they all cut, y'know, a minute and a half ago.

[Scene shown of Bernard proposing to Rose]

L. Scott Caldwell: It's loosely based on events in my life… in my personal life. My husband, who I married during the pilot, had an advanced cancer, and about a year after we married, he died. When you meet somebody who's in the final stages of their life, the other person, the healthy person, is going to do all they can to keep you living… [Isaac's room with crutches shown] so that's the dynamic of this story. And the person that's going through it, at least in my experience, after they've been fighting for so long… you just reach that fork in the road, where you can just keep going down that path of struggle, or you can stand where you are, and accept where you are, and accept it as a blessing. And that's a very powerful place to be.

Sam Anderson: I think it's absolutely, beautifully written. I could barely get through it, when I read it by myself, and I thought, Leonard and Steve did a great, great job with this.

Leonard Dick: When I watch the episode with my wife, I weep, and I thought Sam and L. Scott Caldwell did a fantastic job.

L. Scott Caldwell: It's good to let people know that there is life… there is life… there is life, there is life that, it doesn't stop you from being able to live, and it doesn't stop you from being able to love, and to find the love of your life… at the end of your life. It is an amazing thing. It's just a gift from God. I think that's pretty much what the writers have done in this episode. [Rose and Bernard shown embracing on the beach]

Paul Edwards: They had a few of the elements that every good Lost script has. A little violence, a little sex, and the further-progressing story of our lost cadre of folks, here.

[Scene of Michael talking to Jack, Kate and Locke]

Harold Perrineau: In 2-20, Michael sort of downloads all the information about what he's done, and what he's been through… and basically, he comes back to rally the troops, so that they can all go over there and get Walt back together. Or that's what it seems like that's what he's going to do. [Director shown messing around with black lights, pretending to be bucktoothed]

Michael Rivero: [Standing in blacklight-lit set] We're shooting a sequence where we have to have the reflection of the character in a glass window, as she looks out on Sydney… we've actually removed the window. We're shooting a camera inside the room to catch the main action. At the same time, we have a camera that is positionally the mirror image of the first camera, shooting an element that will be flipped, added over the image of Sydney harbor, to create what appears to be a reflection in glass, and then the conventional blue-screen will allow us to put the foreground element over it.

Richard Sickler: The grips had rigged a blue screen out, pretty calm night and stuff. Next thing we know, we see rain across the ocean, pretty dramatic.

Paul Edwards: I think it was up to 60 mph winds. On the top of a hotel in downtown Waikiki…

Richard Sickler: And we were just barely able to hold it together, and we were able to get the shot. So in the finished shot, you'll probably see Sydney Harbor out there, and a very calm, peaceful, elegant shot of Michelle, but it was a storm to get it. [Scene shown; switches to scene in front of The Last Call bar, which has a backwards sign] Here we are in 'Australia'. You'll notice that they write everything backwards. Basically, we couldn't get every single steering vehicle to get the steering wheel on the other side, so we're flipping the negative, so that it looks like it's all in Australia. We had the art department reverse all the letters. We were very careful about what we saw. Then you flip everything. So the actors' pockets, if they're on this side [motions to left side of chest] now they're on this side [motions to right side]… if they wear a ring like this [points to left hand], it goes on the right hand, etc. And, that's how you do it.

Paul Edwards: Can't take the show too seriously, otherwise it'll make you crazy, so we have a few pranks from time to time. At one point, prop man Jennings actually opened the door in his… he's a good looking man, but not a very attractive lady, and he actually answered the door in Michelle's robe. [Bald, bearded man, bare-chested in woman's robe goes to door; John Terry answers the door to surprise, then plays along ("Oh, Sarah, where have you been?"); cast and crew laugh] Well, that was another lovely Lost moment, as we've had a few on the show. [Scene shown of Ana Lucia talking to Michael about Ben in the gun vault]

Elizabeth Sarnoff: I found the story that we're telling to be very moving… I find the character to be very moving, a character that's that tough, who is so deeply hurt inside… and whose final act is to say, "I can't kill someone. I can't do it anymore." And she hands over the gun, and that's ultimately her last mistake.

Harold Perrineau: That day, that was really a tough day, because… you know. That was the day of their demise. And they're having a hard time. Especially once it was shot. Then they were really going to be gone from the show. [Scene of Michael shooting Ana Lucia and Libby shown]

Elizabeth Sarnoff: It's pretty shocking. I mean, that story was really about what a father will do to save his son. And, there's nothing worse than what he does.

Chip Touhey: For our finale, we've had two units going the entire time. Out of a seventeen-unit shooting schedule, we had second unit going for nine of those days. Five were on the water, and then another four days between various stages, getting jungle work done—night jungle on stage. Then, we also had a special FX unit going, blowing up the Hatch, and doing the FX rigs in the Hatch, making various items explode shake, rattle and roll. [Chaotic scene of the implosion shown]

Cynthia Watros: Today, we're shooting a scene between Libby and Desmond. It's a flashback, we're in a coffee house, and I loan him four bucks, and he tells me that he needs a boat. And, I give him my boat. [The Elizabeth shown]

Jack Bender: The significance of this scene, helps to justify and motivate Desmond's need to win the race, which is how he ends up on our island. A very Lostian moment.

Cynthia Watros: [Jack Bender on the set, says goodbye to Cynthia Watros] It has been an extreme pleasure to work with the crew, I'm going to miss you guys… so much. More than you'll know. And the cast, has made me feel like this is home. And, I'm very sad to say goodbye… but I have a feeling that I might see you again someday.

[Desmond storm and shipwreck scenes shown]

Stephen Williams: We're doing a night sequence, a storm at sea that involves our character, Desmond. This is Desmond's craft. And we're going to assault our actor with a barrage of water cannons, britter fans, dump tanks, lightning strikes, all the accoutrements of a storm at sea.

Jean Higgins: We have two 'condors' for lighting, one 'condor' for rain… and a grade-all which will be lifting dump-tanks, which dumps about two thousand gallons of water, to simulate waves going over the boat. [Huge amounts of water shown battering The Elizabeth] It'll be a big storm. [More behind-the-scenes with the storm shown]

Josh Holloway: Welcome to the end of Season 2. The very end. Today's our last day. And as you can see, we're in one of the most beautiful places on the planet. [Waves at background, Kaneohe bay; then scene of Pala Ferry shown of hostages]

Chip Touhey: We've got Jack, Kate, Sawyer, Michael, Jorge, all bound, gagged, and they're about to get led off to an uncertain fate.

Matthew Fox: Where is that going to leave Jack, Kate and Sawyer at the beginning of Season 3? They are going to be in the Others' camp. They're going to be in the Others' world, whatever that is.

Chip Touhey: Michael is going to get on the boat and go away to another uncertain fate.

Victor Lozano: We are here on location in Kaneohe. Aboard the Kaimi Pee[sic]. It's the vessel that kidnapped Walt… and it's back. This vessel is also the vessel that Michael, Walt and Vincent will be taking off on. [Walt seen reunited with Vincent on the boat]

Harold Perrineau: Victor was trying to teach me the whole time how to drive this really old, crotchety, like boat, and trying to make it go… they had to push it at the right angle, and I had to move it just the right way. [Harold seen trying to drive boat]

Victor Lozano: Most memorable moment? Was watching Harold driving this boat. 'Cause it's a little tank, and he's doing a great job… just driving this boat, I'm there just in case he needs me. But he's been doing a great job getting it out of here and bringing it back.

Harold Perrineau: And the very last scene we shoot that day, it's a really long, long camera shot, from way behind the pier, just us driving off into the horizon. And when I got back, everybody was gone from the pier. And it was really, really strange. It was really like I really had left. We'd driven so far out, that by the time they said "cut", they had already cleared the pier, and done all this other stuff, so it was really this lonely walk back down this pier. It felt fitting, actually. Like, that's it. [Cast and crew shown in final scene applauding the end of Season 2 filming]